Thoughts on the Film 'Shoplifters' by Hirokazu Koreeda <小偷家族> 观后感

A family of six live together in a rundown shack. Despite the conditions of poverty and subsistence, one can feel the warmth and laughter permeating the cramped living space. As if undeterred and oblivious to the prying eyes of the audience, the family continue to live by a pragmatism that is driven by harsh circumstances, sometimes at the expense of morality.

Director Koreeda Hirokazu masterfully threads the grey area between love and morality in this astonishing masterpiece, 'Shoplifters'. Unlike the more lyrical treatment that preceded this film - Umi Diaries and Like Father, Like Son, 'Shoplifters' shares the vein of the raw and gritty tone in Nobody's Child which paint the lives of people in the lower rungs of society.

Apart from the prestigious awards that the film has garnered, including winning the Palm d'Or at Cannes last year, and a Oscar nomination this year for Best Foreign Film, what initially attracted me to watch the film was the premise of a family that shoplifts to cope with poverty.

But that was merely the tip of an iceberg. As the film progressed, I realised the amount of depth that was meticulously crafted by the director, waiting for the viewer to peel off layer by layer and eventually unravelling questions that challenges your core. The direction and superb natural acting from the cast gives the film an astounding sense of realism. It is as if the director is not telling a story, but giving you a 2-hour peep into the lives of these few people. The film does not dictate your emotions, or make any judgement, but merely laid bare the scenes for your own conclusion. 

But apart from the question of whether morality still holds in the face of reality, the film poses another question which I have never truly thought of.

What with the hype of parents day just over last month - the period of the year that obliges the professing of love from children to their parents, watching the film at that time really makes one think: what makes a rightful mother? Does giving birth makes you a default mom?

Each character in the film has their own story which I will not reveal here. I will just touch on one of the plots between little girl Juri and the 'foster' family, which spearheads one of the main themes: challenging the normal perception of what makes a family.  

Juri was found emaciated and abandoned near their house on the way home after a routine shoplifting. Finding bruises all over her body, Nobuyo the wife did not have the heart to bring her back to her birth parents. Despite having one more mouth to feed in an already struggling household, Nobuyo and Osamu let her continue staying in the little shack. And with the warmth and non-discrimination of her as an outsider, she instantly became part of her new 'foster' family.

However, problem arises when they saw the news report of a missing girl who happens to be Juri. Instead of handing her back to the authorities and having grown an affection for her, they decided to keep her with them and changed her identity. From then, Juri carefreely roams the streets with her 'brother' Shota, joining in their stealing escapades.

When a botched shoplifting incident occurs, the family that was previously living under the radar were forced to surface and face the music. At this point, the viewer is confronted with the dreaded consequences that await the family of shoplifters. We are faced with the muddled conflict between what is perception and the truth. 

Under the eyes of the media, the family has 'abducted' Juri, and authorities are bent on punishing them for the 'crime'. But for the audience who have witnessed the truth that transpired, the director puts the audience as the best judge of their situation. Subtly, we are guided to the questions the director wanted to ask - does love justify all? Are society's rules and regulations always for our benefit and protection?  And more pressingly: is family the one that protects you, or unquestioningly the one that you are born into?

We know that the heart is all that matters, but when you are incapable to provide, is having love enough to help us see the light of day? Does the end makes the means? 

In the end, Juri is reunited with her birth mother who continues to neglect her. She is encaged in a tiny apartment where she could only stand up at the balcony to gaze at the world outside that she once roamed freely. 

More revelations take place towards the end of the film, showing how all is not what it may seem. But the director leaves it to the audience to make their own judgements. 
What I appreciated about the film was how clear and relatable it is to the audience, and how, without being in-your-face, the director shares his exploration of the family notion through gentle yet powerful conflicting emotions he evokes in the audience.

This is veteran actress Kirin Kinki's last film before her passing last year.

The film is, what I'd like to think, the director's ode to humanity's complexity and greyness.

Interestingly, the film was one of the highest grossing imported films in China, which has high anti-japan sentiments. It just goes to show that a great film with a humanistic story line transcends all nation, is capable of piercing through the thick layers of prejudice, stripping us bare to our core as human beings.